Sociology of Film --

This course will offer an in-depth look at film and filmic representations from a sociological point of view. The course is divided into three parts. In the first part, we will critically analyze the definition of Sociology of Film and explore how key tools (the sociological imagination and the film log) can help us look at films sociologically. The second part of the course will feature sociological treatments of such diverse cinematic representations as high schools, romance, and Latinos. In the third part, after a brief historical overview of the major contributions to the discipline, we will concentrate on the “culture industry,” the film audience, and film as a social practice.

Sociology of Violence --

In this course students will conduct an in-depth exploration of a complex, and multifaceted social and individual reality: violence. With the aid of readings, discussions, presentations and visuals students and professor will map the field(s) and analyze the definition(s) of violence. We will also focus on specific forms of violence: among others, school violence and self-inflicted violence. Additionally we will compare these violent manifestations with (some of) their alternatives. The analysis will be complemented by a look at theoretical perspectives on violence and at the controversial role of media in fostering aggressive behavior in society.

Because of the intense nature of the course content, readings, visuals, and discussions might stir up all sorts of feelings and thoughts: it is essential that students and instructor be prepared to keep an open mind and exercise patience and show understanding towards themselves and each other during our interactions.

Cinema with a Social Conscience - Italian Neorealism  --

In Italy, during and in the aftermath of World War II, a small group of filmmakers crafted vivid portrayals of the human condition. Utilizing nonprofessional actors, conversational speech, and actual locations rather than studio sites, these directors crystallized the horrors of the war together with the fight for freedom. They captured the poignant essence of daily life alongside the appalling deficiencies of public institutions and the shattering poverty of regular families. This cinematic style became known as Neorealism. By analyzing the key films of this period, such as The Bicycle Thief (De Sica, 1948), Rome, Open City (Rossellini, 1945), and Ossessione (Visconti, 1943), among others, we will come to understand the core values of neorealism, its massive impact throughout the world, and its continued relevance today.

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